Gum-Bichromate 
and  Platinotype 


Printin 


<^%is 


Modern  Printing  Processes 

Gum  Bichromate  and 
Piatinotype  Papers 


The  Preparation,  Printing  and  Developing  of  Gum  Bichromate 
Papers.  The  Manipulation  of  Piatinotype  Papers 
by  the  aid  of  Glycerine  and  Bichloride 
of  Mercury,  Etc. 


BY 

HENRY  G.  ABBOTT, 

Author  of  Modern  Photography  in  Theory  and  Practice,  Progressive 
Lessons  in  Photography,  Etc. 


CHICAGO 

GEO.  K.  HAZLITT  & CO.,  PUBLISHERS. 


Copyrighted 

1900 

By  Geo.  K.  Hazlitt  & Co. 


PREFACE. 


As  a rule,  the  painters  of  this  and  other  countries 
are  prejudiced  against  photography  and  they  argue 
that  it  is  simply  a mechanical  process  and  hence  can 
never  be  recognized  as  Art.  Their  argument  has 
always  been  that  a work  of  art  must  possess  a dis- 
tinct individuality  ; that  a mere  copy  of  nature,  a 
chunk  of  so  many  feet  cut  out  from  a landscape, 
just  as  it  happened  to  appear  to  the  man  with  the 
camera,  is  not  Art,  no  matter  how  faithfully  nature 
is  copied.  They  hold  that  a person  viewing  a land- 
scape does  not  see  all  of  it  with  equal  distinctness, 
and  that  the  prominent  object  or  objects,  whether 
situated  in  the  foreground  or  middle  foreground, 
must  be  more  prominent  than  the  balance  of  the 
picture,  and  that  right  here  is  one  of  the  great  faults 
of  photography  ; that  the  lens  sees  all  parts  of  the 
view  with  equal  clearness  or  sharpness,  and  that  this 
sharpness  is  the  chief  detriment  when  the  picture  is 
viewed  from  an  artistic  standpoint.  Knowing  the 
sentiment  of  painters  in  regard  to  photography,  and 
having  carefully  noted  their  criticisms,  certain  work- 
ers have  revised  their  methods  of  focusing  and  ex- 
posure, so  as  to  make  the  results  conform  more  closely 
to  the  tastes  of  the  critics  ; but  even  then  the  results 


were  not  satisfactory,  when  ordinary  printing-out 
papers,  with  extremely  high  finish,  were  employed 
in  making  the  prints.  Papers,  then,  which  gave 
softer  results,  were  looked  for  and  the  choice  of  such 
workers  naturally  fell  upon  platinotype  and  gum- 
bichromate  papers,  the  former  to  be  purchased  from 
any  dealer  and  the  latter  to  be  made  by  the  photog- 
rapher. 

These  papers  were  chosen  because  the  operator 
could,  by  their  use,  put  more  or  less  of  his  individu- 
ality into  his  work,  and  the  resultant  print  need  not 
be  a mere  copy  of  nature.  This  is  more  largely  true 
of  gum-bichromate  than  of  platinum  prints,  and,  in 
fact,  it  may  be  said  that  no  two  gum-bichromate 
prints  from  the  same  negative  are  exactly  alike. 
Given,  then,  a negative  with  any  reasonable  amount 
of  artistic  value  in  it  and  the  worker  can  produce 
results  in  pictorial  photography  which  certainly  will 
pass  for  art  with  the  public,  providing  he  has  ability 
in  this  line  himself.  The  mere  negative  and  paper 
will  not  of  themselves  produce  artistic  results  any 
more  than  any  other  photographic  process,  and  the 
operator  to  produce  such  results  must  have  more 
or  less  artistic  feeling. 

The  Philadelphia  salons  of  1898  and  1899,  the  Chi- 
cago Salon  of  1900  and  the  various  exhibits  given  at 
camera  clubs,  have  done  much  towards  educating 
amateur  photographers  to  a higher  standard  and 
many  who  were  content  with  glac£  prints  are  now 
working  the  more  artistic  processes.  The  two 


papers  tinder  discussion,  together  with  carbon,  are 
recognized  the  world  over  as  the  most  permanent 
in  their  nature  and  the  life  of  the  print  is  limited 
only  by  the  life  of  the  stock  which  is  coated.  The 
only  exception  possible  is  the  platinotype  print  which 
has  been  toned  with  bichloride  of  mercury  or 
uranium.  Uranium  and  mercury  are  unstaple  com- 
modities, and  their  actions  vary  greatly  under  dif- 
ferent chemical  conditions.  Of  the  gum-bichromate 
print  it  may  truthfully  be  said  that  it  is  as  permanent 
as  it  is  possible  to  have  anything  in  photography, 
and  the  resulting  print  is  nothing  more  or  less  than 
a water-color  picture,  produced  semi-mechanically, 
there  being  nothing  but  pigment  and  paper. 

With  this  brief  summing  up  of  the  subject  let  us 
proceed  to  the  practical  side,  starting  with  the  gum- 
bichromate  process.  H.  G.  A. 


Digitized  by  the  Internet  Archive 
in-2016 


https://archive.org/details/modernprintingprOOabbo 


The  Gum-Bichromate  Process. 


It  is  quite  essential  that  those  who  contemplate 
working  the  process  should  have  at  least  a general 
knowledge  of  the  principles  underlying  it,  for  there 
are  few  photographic  processes  which  are  so  simple 
that  they  will  work  out  their  own  conclusions,  and 
this  process  is  not  one  of  them.  To  read  over 
many  of  the  hand  books  on  the  subject  one  would 
be  led  to  believe  that  it  is  only  necessary  to  mix 
together  so  much  gum,  pigment  and  bichromate, 
expose  and  then  place  the  paper  in  cold  water  and 
nature  does  the  rest.  As  a rule  these  books  do  not 
point  out  the  failures  and  their  remedies  and  they 
deal  with  the  quantities  in  a very  vague  way,  so  that 
many  who  have  tried  the  process  and  met  with  fail- 
ure from  the  start,  have  given  it  up  in  despair. 

The  principle  underlying  the  entire  process  is 
that  many,  if  not  all  gums,  when  mixed  with  the 
bichromates  and  exposed  fully  to  light,  become 
insoluble,  more  or  less,  in  cold  water.  This  princi- 
ple is  taken  advantage  of  by  mixing  certain  pig- 
ments with  the  gum,  which  does  not  seem  to  effect 
the  results,  except  in  a limited  way.  The  process 
is  worked  out  in  two  different  ways  but  the  results 
are  identical.  The  paper  may  be  coated  with  a 


10 


MODERN  PRINTING  PROCESSES. 


mixture  of  gum,  pigment  and  bichromate,  or  the 
paper  may  first  be  sensitized  with  the  bichromate 
and  a mixture  of  gum  and  pigment  applied  over  it. 
The  prepared  paper  is  then  dried  in  the  dark  and 
printed  either  in  the  sun  or  a good  light,  under  an 
ordinary  negative.  The  printing  being  completed, 
the  paper  is  placed  in  a tray  of  cold  water,  say  for 
ten  or  fifteen  minutes,  when  that  portion  of  the  pig- 
ment which  has  not  been  affected  in  any  degree  by 
light  will  begin  to  melt  or  soften  and  run  away  in 
the  water.  The  half-tones  of  the  picture  next  dis- 
solve slightly  and  thus  give  form  to  the  picture. 
Those  who  have  worked  the  carbon  process  will 
readily  understand  the  action  of  the  light  and  water, 
as  the  two  processes  are  more  or  less  similar.  In 
the  carbon  process  a heavier  coating  of  pigment  is 
given  and  the  sensitizer  is  applied  to  the  face  of  the 
pigment,  so  that  a transfer  is  necessary  in  order  to 
prevent  the  half-tones  washing  away.  In  the  gum- 
bichromate  process  a light  coating  is  given  the  paper 
and  with  care  there  is  no  danger  of  the  important 
half-tones  washing  away  and  so  no  transfer  is  neces- 
sary. Some  of  the  half-tones  do  wash  away  and 
are  lost.  The  action  of  the  light  and  water  on  line 
paper  will  be  perhaps  better  understood  by  consult- 
ing the  annexed  figure. 

By  examining  this  figure  it  will  be  seen  that  if 
fully  exposed,  the  pigmented  surface  will  be  printed 


MODERN  PRINTING  PROCESSES. 


I I 

clear  through  to  the  paper  on  those  portions  which 
lie  under  the  clear  glass  of  the  shadows  and  those 
portions  which  lie  under  the  half-tones  of  the 
negative  will  be  printed  more  or  less  through 


the  pigment,  according  as  the  light  is  allowed 
to  penetrate  through  the  developed  film  of  the 
negative.  Again  glancing  at  the  figure,  we  can 
readily  see  that  if  the  coating  on-  the  paper  be 
too  heavy  there  will  be  great  danger  of  the  half- 
tones being  undermined  by  the  unexposed  por- 
tions softening  and  washing  away  and  the  half-tones 
then  having  no  support  are  also  liable  to  collapse 
and  be  entirely  destroyed  by  the  water. 

From  this,  then,  wre  learn  that  a thin  coating  is 
quite  necessary  and  this  is  a point  which  must  be 
borne  in  mind,  for  it  is  just  where  fifty  per  cent  of 
the  failures  occur. 

Now  as  to  the  paper  to  be  used.  Almost  an)' 
linen  stock  will  answer,  providing  it  is  thick  enough 
to  handle  w hile  coating  and  washing  and  has  a sur- 
face smooth  enough  to  coat  evenly.  If  the  paper  be 
too  thin  it  will  watp  while  coating  and  curl  while 
drying  and  washing  and  give  trouble  generally  and 


12 


MODERN  PRINTING  PROCESSES. 


for  this  reason  a medium  weight  paper  should  be 
selected  ; if  not  a linen  stock  it  is  liable  to  tear,  or, 
in  fact,  go  to  pieces  in  the  water,  for  between  devel- 
oping and  the  final  washing  the  print  gets  a pretty 
good  soaking  and  only  the  best  stock  will  stand  it. 
What  is  known  technically  as  a “ laid  ” paper  should 
be  avoided,  unless  it  is  well  calendered  down,  for 
with  such  papers  it  is  very  hard  to  get  a nice,  even 
coating  and  the  consequence  is  you  have  a mottled 
print.  A “ laid”  paper  is  one  which,  when  held  to 
the  light,  shows  lines  running  in  both  directions. 
These  lines  are  produced  by  the  wires  on  which  the 
paper  is  dried.  If  the  paper  has  a very  rough  sur- 
face, as  some  water  color  and  crayon  papers  have, 
then  it  should  not  be  selected,  for  it  will  be  readily 
seen  that  the  pigment  will  collect  in  the  depressions 
and  an  uneven  coating  result.  Whatman’s  hot 
pressed,  Steinbach’s,  Michallet,  Lalanne,  Julio  and 
Allonge,  are  all  reliable  papers  which  are  made  for 
water  color  or  charcoal  sketching  and  will  stand  any 
amount  of  washing.  Some  are  laid  and  some  wove. 

The  fact  that  many  who  have  attempted  this  pro- 
cess have  selected  a soft  stock  with  little  or  no  sizing 
is  the  reason  of  the  many  failures.  If  the  paper  be 
unsized  the  pigment  will  soak  inlo  the  pores,  and 
although  the  exposure  may  be  a correct  one,  you 
will  fail  to  wash  out  the  pigment  even  by  prolonged 
soaking.  As  a rule,  the  greater  the  sizing  the  more 


MODERN  PRINTING  PROCESSES. 


13 


contrast  the  print  will  have  when  finished.  This 
fact  may  be  taken  advantage  of  in  using  various 
negatives. 

As  a general  rule,  you  will  make  no  mistake  if  you 
give  your  paper  a sizing  before  coating,  even  if  it  be 
a sized  paper,  for  it  is  better  to  be  safe  than  sorry. 
The  sizing  may  consist  of  a three  per  cent  hot  solu- 
tion of  arrowroot,  a one  to  sixty  solution  of  gelatine 
or  a five  per  cent  solution  of  gelatine  mixed  with  a 
two  per  cent  solution  of  chrome  alum  and  applied 
hot.  Or  a five  per  cent  solution  of  gelatine  may 
first  be  applied  and  the  sheet  then  passed  through  a 
ten  per  cent  solution  of  formaline  to  harden  it.  An 
insoluble  solution  of  gelatine  is  undoubtedly  the 
best  if  we  desire  pure  whites  in  our  highlights. 
This  sizing  will  also  help  materially  in  getting  a 
nice,  smooth  coating,  as  many  papers  act  greasy 
when  the  pigment  is  applied  to  them  if  not  treated 
with  a sizing  bath. 

If  a good  linen  stock  is  selected,  such  as  Crane’s, 
Parsons’,  Brown’s,  etc.,  a tinted  paper  can  often  be 
used  to  advantage  and  in  this  way  a picture  out  of 
the  ordinary  may  be  secured.  For  example,  a 
primrose  paper  may  be  selected  and  coated  with  a 
burnt  umber,  and  the  result  will  be  a brown  print 
on  a very  light  brown  background.  A very  light 
green  paper  coated  with  a dark  green  pigment  is 
applicable  for  forest  scenes,  etc.  By  a judicious 


14 


MODERN  PRINTING  PROCESSES. 


selection  of  papers  and  pigments  the  worker  may 
produce  very  artistic  pictures  which  could  not  be 
produced  by  any  other  process. 

Having  selected  our  paper,  let  us  proceed  with 
the  work. 

The  larger  the  sheet  of  paper  the  more  difficult 
it  is  to  handle  it  and  for  this  reason  it  will  be  found 
easier  and  better  to  handle  several  small  sheets  rather 
than  one  large  one.  Cut  your  paper  so  as  to  leave 
at  least  a half  inch  all  around  ; that  is  to  say,  at  least 
one  inch  larger  each  way  than  the  finished  print  is  to 
be.  If  you  want  to  make  prints  from  35x7  negative 
cut  your  paper  to  6x8  or  larger.  This  not  only 
gives  you  an  edge  to  handle  the  paper  hy,  but  it  also 
gives  you  room  to  trim  before  printing,  which  is 
quite  necessary,  for  the  pigment  gathers  in  coating 
at  the  edge,  where  it  is  generally  thicker  than  in  the 
middle.  Secure  a flat  piece  of  board  somewhat 
larger  than  your  paper,  a drawing  board  will  do; 
cover  it  with  a sheet  of  paper  and  sponge  both 
sides  of  your  sheet  with  water  by  means  of  a tuft 
of  cotton  or  soft  sponge.  Do  not  apply  enough 
water  to  make  it  run  down  the  sheet,  hut  merely 
enough  to  dampen.  When  you  have  dampened  all 
the  paper  you  are  ready  for  the  sizing,  which  should 
he  applied  hot.  This  can  be  done,  if  a small  sheet, 
by  pouring  the  size  into  a tray,  immersing  the  sheet 
in  it  for  a minute  and  then  drawing  it  out  over  a glass 


MODERN  PRINTING  PROCESSES. 


15 


stiring  rod  in  order  to  remove  the  surplus  size.  Care 
must  be  taken  to  break  all  air  bubbles  as  soon  as 
formed,  otherwise  the  sizing  will  be  uneven  and 
will  show  in  the  finished  print.  It  is  also  well  to 
size  both  sides  of  the  paper,  so  that  either  side  can 
be  coated  at  will.  By  immersing  the  sheet  in  the 
bath  it  will  also  prevent  all  curling  and  if  the  sheet 
is  a heavy  or  medium  weight  it  will  hang  out 
smoothly  on  the  line.  If  a large  sheet  the  sizing 
may  be  applied  with  a soft  sponge  or  camels  hair 
brush  and  if  so  desired  only  one  side  of  the  sheet 
may  be  sized,  but  in  such  a case  the  other  should  be 


A Clip. 


marked  with  a lead  pencil  so  that  the  proper  side  be 
sensitized  or  coated.  At  this  point  it  is  well  to  note 
that  gelatine,  when  treated  with  chrome  alum,  is 
nearly  if  not  quite  insoluble  in  hot  water  and  it  is 
well  to  mix  these  ingredients  in  some  open  vessel 
which  can  be  readily  cleaned  out  after  use.  The 
sizing  being  effected  the  sheets  should  be  pinned  up 
to  a strip  of  wood  or  held  in  clips  which  are  attached 
to  a cord  or  rope.  The  clips  will  be  found  to  be 
the  most  convenient  and  can  afterwards  be  used  for 


i6 


MODERN  PRINTING  PROCESSES. 


drying  the  sensitized  paper.  The  sizing  should  be 
thoroughly  dry  before  the  pigment  is  applied.  The 
sheets  can  be  hung  in  a kitchen  or  any  other  warm 
room  and  should  dry  in  a half  hour  or  less,  depend- 
ing, of  course,  on  the  temperature.  The  paper  be- 
ing thoroughly  dry  we  are  ready  for  the  next  opera- 
tion. 

As  explained,  there  are  two  methods  of  using  the 
sensitizing  fluid ; one  by  applying  it  to  the  paper 
and  when  dry  coating  with  the  gum  and  pigment, 
and  the  other  to  mix  the  sensitizer,  gum  and  pigment 
and  apply  all  at  once.  It  matters  little  which  method 
you  adopt,  though  with  the  former  a less  exposure 
is  required.  We  will  describe  both  methods,  starting 
with  the  one  in  which  the  paper  is  first  sensitized. 

The  sensitizer  may  consist  of  a saturated  solution 
of  bichromate  of  potassium  or  equal  parts  of  a satur- 
ated solution  of  bichromate  of  ammonium  and 
bichromate  of  potassium.  This  solution  is  poured 
into  a tray  and  a sheet  of  the  paper  floated  upon  it 
for  a minute.  Remove  the  sheet,  break  any  air 
bells  and  immerse  the  sheet  fully.  Where  the  paper 
is  sensitized  before  coating^the  wrong  side  should 
be  marked  with  a pencil,  or  otherwise  each  side  will 
have  to  be  inspected  carefully.  When  the  first 
sheet  has  been  freed  from  air  bells  and  immersed, 
follow  with  a second  and  so  on  until  your  tray  will 
hold  no  more.  Then  lift  the  bottom  sheet  to  the  top, 


MODERN  PRINTING  PROCESSES. 


17 


again  inspecting  and  breaking  any  air  bells,  and  so 
on  until  the  first  sheet  is  again  in  the  bottom  of  the 
tray.  Allow  the  sheets  to  soak  in  the  sensitizer  for 
three  or  four  minutes  and  then  remove  them,  one  at 
a time,  by  drawing  them  over  a glass  rod,  and  hang 
them  up  in  clips  to  dry.  Bichromate  is  poisonous 
and  some  skins  are  very  susceptible  to  it  and  for 
this  reason  it  is  well  to  wear  a set  of  rubber  finger 
tips  when  sensitizing  the  sheets.  The  sensitizing 
can  be  done  in  a subdued  light,  but  the  drying  should 
be  done  in  the  dark  room. 

Drive  a few  tacks  in  the  walls  of  the  dark  room, 
say  seven  or  eight  feet  from  the  floor  and  stretch 
strings  across  from  one  tack  to  the  other.  As  fast 
as  your  sheets  are  sensitized  fasten  the  clips  to  them 
and  hang  the  clips  upon  the  string.  The  length  of 
time  to  dry  will  depend  upon  the  temperature  of  the 
dark  room.  Sensitized  paper,  if  kept  between  blot- 
ters or  in  a book  in  the  dark  will  keep  for  about  six 
weeks,  so  that  a supply  of  paper  can  be  sensitized 
in  one  evening  which  will  last  for  a month.  Should 
occasion  require  it,  paper  may  be  sensitized,  coated 
and  printed  all  within  a half  hour.  The  writer  has 
done  this  successfully  many  times  and  with  good 
results,  but  the  method  cannot  be  recommended  for 
general  work.  It  can  be  effected  as  follows  : Select 
a room  having  a yellow  or  colored  curtain  of  a light 
shade,  so  you  can  see  to  work  and  yet  the  light  is  of 


1 8 


MODERN  PRINTING  PROCESSES. 


a color  which  will  not  affect  the  sensitive  paper. 
The  room  should  have  a coal,  gas  or  oil  stove,  in  order 
to  dry  the  paper.  Sensitizeas  directed,  place  in  clips 
and  hang  directly  over  the  stove  and  the  coating 
will  be  dry  in  five  minutes  or  less.  While  the 
sensitive  coating  is  drying  prepare  the  pigment 
coat  and  when  applied  again  hang  over  the  stove 
and  by  the  time  the  negative  has  been  selected 
and  placed  in  the  printing  frame  the  pigment  will 
be  dry  and  ready  to  print. 

But  to  return  to  our  sensitized  sheets  which  are 
drying  in  the  dark  room. 

If  the  sheets  are  sensitized  in  the  evening  they 
will  be  ready  for  the  coating  the  next  morning. 
Take  them  from  the  clips  and  pack  them  away 
in  a plate  box  with  a few  blotters  here  and  there 
between  them.  So  long  as  the  sensitized  surface 
presents  a brilliant  yellow  color,  as  it  had  when 
packed  away,  it  is  in  good  condition,  but  when  the 
color  has  changed  to  a dirty  green-brown  the  paper 
is  no  longer  fit  for  use. 

The  pigment  or  color  is  the  next  thing  to  con- 
sider. This  pigment  is  nothing  more  or  less  than 
a water  color ; or,  in  fact,  fine  charcoal  may  also  be 
used.  As  a nice,  smooth  surface  is  indispensable  to 
good  work,  it  will  be  readily  recognized  that  the 
color  used  must  be  carefully  ground  to  free  it  from 
all  lumps  and  gritty  particles.  The  pigment  may  be 


From  a 
Gum  Print 


Henry  G.  Abbott. 


MODERN  PRINTING  PROCESSES.  IQ 

dry  powder,  moist  colors  in  pans  or  tubes,  or  even 
solid  cakes.  Moist  colors  in  tubes  are  the  most  con- 
venient, although  more  expensive  than  dry  or  pan 
colors,  vet  they  are,  as  a rule,  thoroughly  ground 
and  no  lumps  or  gritty  portions  will  be  found  in 
them.  If  dry  colors  are  used  they  will  have  to  be 
thoroughly  ground  by  means  of  a pestle  and  mor- 
tar or  a glass  muller  and  piece  of  plate  glass,  or 
lithographic  stone  will  answer 
equally  as  well.  If  you  grind  your 
own  pigment  from  dry  colors  it 
should  be  strained  through  a piece 
of  fine  muslin  to  remove  any  hard 
particles  overlooked  in  grinding. 

Any  colors  may  be  used,  but  the 
most  desirable  are  burnt  umber, 
Indian  red,  red  ochre,  sienna,  Vene- 
tian red,  indigo  and  black.  There 
are  many  shades  which  are  perhaps 
as  desirable  which  may  be  mixed, 
and  there  are  other  colors,  like 
lemon  yellow,  umber,  Vandyke  brown,  Prussian 
blue,  sepia,  etc.,  which  do  not  answer  very  well  by 
themselves,  but  which  are  very  useful  for  mixing 
the  various  shades.  I should  advise  the  beginner 
to  purchase  chrome  yellow,  Venetian  red  and  Prussian 
blue,  as  with  these  colors  he  will  be  able  to  mix 
almost  any  shade  he  may  desire.  If  charcoal  is  used, 


Moist  Colors  in 
Tubes. 


20 


MODERN  PRINTING  PROCESSES. 


considerable  difficulty  will  be  encountered  and  I 
should  advise  postponing  its  use  until  you  are  thor- 
oughly acquainted  with  the  process.  As  a rule, 
charcoal  does  not  mix  readily  with  the  gum  and 
water,  and  should  be  first  ground  into  the  gum  and 
the  mass  thinned-afterwards  with  water  to  the  right 
consistency.  Too  much  grinding  will  be  ruinous  to 
the  identity  of  the  substance  and  we  might  just  as 
well  use  black  paint.  The  best  way  to  use  charcoal 
is  to  first  sift  it  through  bolting  cloth  or  a fine  sieve 
and  then  work  it  thoroughly  into  the  gum  as  ex- 
plained above. 

A well  calendered  laid  paper  is  the  most  prefer- 
able for  use  where  charcoal  is  used  as  a pigment. 

The  next  question  for  consideration  is  the  colloid 
which  is  to  be  used.  While  there  are  a number  of 
gums  which  when  treated  with  bichromate  and  ex- 
posed to  light  become  insoluble  in  water,  yet  there 
are  none  which  are  as  satisfactory  as  gum  arabic. 
Your  druggist  should  be  able  to  furnish  you  with 
this  ingredient  and  if  possible  the  gum  which  comes 
in  the  form  of  clear  drops  or  beads,  technically  known 
as  “tears,”  should  be  purchased.  Such  a gum  you 
can  depend  upon  as  being  pure,  while  the  variety 
which  comes  in  lump  form  may  or  may  not  be  so. 
This  gum  will  dissolve  by  means  of  water  if  kept  in 
a warm  place  over  night.  To  each  ounce  of  gum 
add  three  ounces  of  cold  water  and  when  it  has 


MODERN  PRINTING  PROCESSES. 


21 


thoroughly  dissolved  allow  it  to  cool  and  then  test 
it  for  density  with  the  hydrometer.  It  should  then 
be  reduced  with  warm  water  to  about  i6J  or  i8°  . 
It  should  then  be  filtered  through  a piece  of  muslin 
and  a little  boracic  acid  added  to  prevent  it  mould- 
ing. If  the  gum  is  of  the  common  lump  variety  it 
is  well  to  test  it  with  litmus  paper  and  if  found  to 
be  distinctly  acid  it  should  be  corrected  by  means  of 
a drop  or  two  of  ammonia.  The  gum  need  not 
be  neutral ; a slight  excess  of  acid  will  not  be  detri- 
mental but  too  much  is  harmful. 

Our  sized  and  sensitized  paper  being  ready,  the 
pigment  being  selected  and  our  gum  prepared,  let 
us  proceed  to  coat  our  first  sheet.  Pour  a little  of 
the  gum  on  a piece  of  plate  glass,  an  old  negative 
glass  previously  cleaned  will  answer,  and  squeeze  a 
small  quantity  of  the  color  from  a tube  upon  the 
opposite  corner  of  the  glass  and  by  means  of  a pallete 
knife  grind  or  work  up  some  of  the  color  with  the 
gum  to  the  consistency  of  cream.  The  exact  con- 
sistency cannot  be  definitely  stated  because  much 
depends  on  the  pigment  used,  the  darker  shades  re- 
quiring a thinner  body  than  the  lighter  and  more 
transparent  ones.  The  consistency  also  depends 
on  the  paper  to  be  coated.  Soft,  laid,  crayon  papers, 
like  Julio  and  Michallet  require  a thinner  pigment 
than  the  hard  linen  stock  made  by  Brown  and 
Crane.  When  the  gum  is  thoroughly  mixed  with 


22 


MODERN  PRINTING  PROCESSES. 


the  pigment  the  whole  should  be  strained  through  a 
piece  of  muslin  which  has  been  previously  wet  and 
the  surplus  water  scpieezed  out. 

At  this  point  it  will  be  well  to  consider  the  brushes 


4 


necessary  in  applying  the  pigment.  At  least  two 
are  requisite,  a flat  camel’s  hair  brush  for  the  appli- 
cation of  the  pigment  and  a blender  made  of  badger 
hair  for  smoothing  and  blending  down  the  ridges 
left  by  the  brush.  A two  inch  camel’s  hair  will  an- 
swer very  well  for  all  the  smaller  sizes  of  paper. 
This  can  be  purchased  for  about  50  cents  and  a 
small  round  blender  will  cost  you  75  cents.  A bet- 
ter outfit,  however,  would  consist  of  a two  inch 


MODERN  PRINTING  PROCESSES. 


23 


camel’s  hair  and  two  inch  softener  and  a three  inch 
flat  blender.  In  the  accompanying  illustration  No. 
1 is  a two  and  a half  inch  camel’s  hair,  No.  2 a two 
inch  softener,  No.  3 a round  blender  and  No.  4 a 
three  inch  flat  blender. 

The  camel’s  hair  brush  should  be  well  charged 
with  the  pigment,  so  that  it  will  not  be  necessary  to 
dip  the  brush  a second  time  for  a sheet  5^  x 8^  or 
smaller.  It  should  be  tried  first  upon  a piece  of  plain 
white  paper  to  see  how  the  color  works  and  covers. 
It  is  well  to  first  wet  the  brush  and  then  squeeze  the 
surplus  water  from  it  before  putting  it  in  the  pig- 
ment. This  will  insure  a more  even  coating  than 
using  a dry  brush.  The  coating  should  just  cover 
the  paper  and  be  so  thin  that  the  white  paper  will 
just  barely  reflect  through  it  and  the  color  no  denser 
than  the  deepest  shadows  of  the  picture  are  to 
appear. 

Take  a drawing  board  or  any  other  flat  piece  of 
soft  wood  a little  larger  than  your  sensitized  sheet, 
spread  over  it  a sheet  of  newspaper  and  lay  your 
sensitized  paper  upon  it,  fastening  it  down  at  each 
corner  by  means  of  thumb  tacks  or  strong  pins. 
Fill  the  brush  with  the  pigment  and  with  light, 
even  strokes,  pass  it  over  the  paper,  starting  at  the 
top  of  the  sheet  and  gradually  working  towards  the 
bottom,  avoiding  streaks  of  pigment  as  much  as 
possible.  The  strokes  should  not  overlap  one  an- 


24 


MODERN  PRINTING  PROCESSES. 


other  but  should  join  so  as  to  have  an  even  or  nearly 
even  coating.  If  the  paper  is  not  thoroughly  cov- 
ered turn  the  board  and  brush  over  at  right  angles 
to  the  direction  in  which  you  first  brushed  it.  Now 
pass  the  softener  over  the  sheet  with  light  rapid 
strokes,  starting  at  the  top  and  working  to  the 
bottom.  Then  turn  the  board  and  soften  length- 
wise of  the  sheet.  Now  take  the  blender  in  your 
hand,  holding  it  in  a vertical  position  and  pass  it 
rapidly  but  lightly  over  the  paper  in  both  directions, 
paying  particular  attention  to  those  portions  which 
show  streaks  of  color. 


Coating  the  Paper. 


All  this  will  have  to  be  done  rapidly,  much  more 
rapidly  than  it  takes  to  tell  it,  for  the  color  dries  very 
fast,  and  once  it  has  set  the  blender  will  have  no 


MODERN  PRINTING  PROCESSES. 


25 


effect  upon  it.  Your  first  efforts  may  not  be  satis- 
factory, and  for  that  reason  I should  advise  that  you 
practice  the  coating  on  some  ordinary  writing  paper. 


The  Pallette  Knife. 

With  a little  practice  you  will  be  able  to  spread  the 
pigment  quite  evenly  and  the  softener  and  blender 

will  remove  any 
faulty  streaks. 

If  you  use  cake 
colors  it  is  well  to 
grind  them  in  a 
small  saucer  or  individual  butter  dish. 
Put  a few  drops  of  the  gum  in  the 
dish  and  then  grind  the  cake  in  it  by 
giving  it  a circular  motion.  If  dry 
color  is  used  it  must  be  ground  with 
the  gum  by  means  of  a glass  muller 
or  pallete  knife,  and  must  always  be 
strained  through  muslin  before  using. 
If  not  strained,  little  hard  lumps  of 
pigment  will  get  into  the  coating, 
which  cannot  be  successfully  removed 
and  which  appear  in  white  or  colored 
spots  in  the  finished  print,  depending 
on  whether  they  stick  or  are  washed 


25 


MODERN  PRINTING  PROCESSES. 


away.  Another  method  is  to  coat  the  paper  by  means 
of  an  atomizer.  The  atomizer  consists  of  two  glass 
tubes  placed  at  right  angles  to  each  other.  One  tube 
is  placed  in  a small  vial  containing  the  mixture  of 
gum  water  and  color  and  the  other  is  placed  in  the 
mouth.  By  blowing  in  the  tube  a fine  spray  of  the 
liquid  color  is  diffused  over  the  paper,  and  by  mov- 
ing the  atomizer  up  and  down  and  from  side  to  side 
the  sheet  can  be,  with  a little  practice,  very  evenly 
coated.  A very  little  blending  will  be  required  after 
you  become  expert  with  the  atomizer.  The  tin 
atomizers  used  for  spraying  charcoal  and  crayon 
drawings  are  not  satisfactory  as  they  do  not  produce 
a fine  enough  spray. 

The  paper  being  coated  successfully  is  placed  in 
clips  and  hung  upon  the  lines  in  the  dark  room  to 
dry.  In  the  event  that  you  wish  to  coat  with  the 
pigment  sensitized,  proceed  as  follows  : ‘ Mix  to- 
gether equal  parts  of  the  gum  solution  and  the  satu- 
rated bichromate  solution  in  a small  saucer,  and  to 
this  add  the  moist  or  dry  color  as  described  above. 
The  coating  is  applied  to  the  paper  just  as  in  the 
case  of  the  sensitized  paper.  At  a glance  this  will 
appear  to  be  the  simplest  and  quickest  method,  as 
the  previous  sensitizing  of  the  paper  is  done  away 
with,  but  the  result  is  a paper  which  is  less  sensi- 
tive. The  results  are  as  good  in  one  case  as  another, 
so  it  matters  little  which  practice  you  may  follow. 


MODERN  PRINTING  PROCESSES. 


27 


Now  all  this  may  seem  quite  tedious  and  compli- 
cated to  those  who  have  never  worked  the  process, 
and  yet,  as  a matter  of  fact,  there  is  no  more,  if  as 
much  work  involved,  as  in  completing  a picture  on 
printing-out  paper. 

In  regard  to  the  negatives  to  be  selected  for  this 
process,  I would  say  that  every  negative  will  not  give 
pleasing  results,  and  this  might  just  as  well  be  under- 
stood from  the  start.  A negative  which  is  dependent 
upon  details  for  its  beauty  will  not  be  an  appropriate 
one.  This  does  not  mean  that  only  negatives  which 
are  fuzzy  or  apparently  out  of  focus  should  be  used. 
It  means  that  any  negative  may  be  used  ; but  as  the 
paper  does  not  reproduce  the  very  fine  details  any 
negative  which  is  dependent  very  largely  on  these 
details  to  procure  a picture  will,  if  printed  in  this 
process,  probably  be  disappointing. 

Very  thin  negatives  do  not  produce  desirable 
results  in  this  process.  On  the  whole  the  negative 
which  will  give  the  most  pleasing  result  is  one  which 
might  be  termed  a strong  negative  ; a negative  with 
considerable  contrast,  not  over-burdened  with  innu- 
merable small  details.  Among  portraits,  those  which 
portray  the  face  rather  than  the  clothing;  busts  and 
heads  rather  than  half-length  and  full-length  fig- 
ures, are  the  most  appropriate.  In  landscapes,  those 
which  depict  a single  object  and  subject  all  others, 
as  a tree  or  rock,  and  particlarly  when  the  tree  is 


28 


MODERN  PRINTING  PROCESSES. 


devoid  of  foliage,  give  the  most  pleasing  results. 
A negative  which  will  produce  satisfactory  results 
on  any  rough  developing  paper  will,  as  a usual  thing, 
produce  a pleasing  print  in  gum-bichromate.  The 
two  prints,  when  compared  side  by  side,  will  not  be 
at  all  alike,  but  yet  the  gum-bichromate  picture  will 
be  if  anything  far  more  artistic  of  the  two.  Nega- 
tives that  are  too  contrasty,  too  full  of  extreme  lights 
and  clear  glass  shadows,  will  be  found  as  unfitting 
as  those  which  are  fiat.  A good  even  negative,  in- 
clined to  be  soft,  with  gradual  shadings,  will  be  the 
most  satisfactory.  Under  all  circumstances  I should 
recommend  that  you  varnish  the  negatives  you  pro- 
pose to  use  for  the  gum-bichromate  process,  provid- 
ing  you  place  any  great  value  upon  them.  This 
should  be  done  for  two  reasons,  first,  there  is  a very 
slight  possibility  that  your  paper  may  not  at  all 
times  be  thoroughly  dry  before  printing,  though  it 
should  be,  and  therefore  sticks  to  the  face  of  the 
negative ; and  second,  the  pigment  face  of  the  paper 
is  inclined  to  be  more  or  less  gritty  and  has  a ten- 
dancy  to  scratch  the  film  if  carelessly  handled. 

Now  a few  words  in  regard  to  exposure,  develop- 
ment and  fixing. 

As  in  any  other  printing  process,  the  duration  of 
exposure  will  depend  largely  on  the  strength  of  the 
light  and  the  kind  of  negative  used.  Roughly  stated, 
gum-bichromate  paper  will  print  in  about  the  same 


MODERN  PRINTING  PROCESSES. 


29 


time  that  any  ordinary  printing-out  paper  will.  An 
ordinary  negative  will  print,  say,  in  three  minutes 
in  the  sun  on  a bright  day.  It  will  not  do,  however, 
to  guess  at  it,  for  much  depends  on  the  length  of 

the  printing,  for  if  we  print 
too  deep  the  pigment  may 
refuse  to  leave  the  paper  and 
if  we  print  too  little  the 
image  may  wash  away  en- 
tirely. To  print  intelligently 
you  must  either  use  an  act- 
inometer  or  place  another 
negative  similar  to  the  one 
you  wish  to  use  in  a frame 
beside  it,  using  a printing- 
out  paper  as  a guide.  When 
the  printing-out  paper,  say 
Solio,  is  printed  to  the  pro- 
per depth  for  toning,  then 
your  gum-bichromate  paper 
will  be  very  nearly  printed 
correctly.  It  may  want  a 
little  more  or  a little  less, 
depending  on  the  color  used.  A few  experiments 
will  determine  the  right  exposure.  The  actinometer 
is  a simple  instrument  used  for  comparative  timing. 
See  the  accompanying  illustration.  It  is  very  simi- 
lar to  an  ordinary  printing  frame  on  a small  scale 


The  Actinometer  Back  and 
Front . 


3o 


MODERN  PRINTING  PROCESSES. 


except  that  a piece  of  glass  with  from  one  to  fifteen 
thicknesses  of  tissue  paper  pasted  upon  it  takes  the 
place  of  the  negative.  The  strips  of  tissue  are 
numbered  according  to  the  number  of  layers,  from 
one  to  fifteen.  A strip  of  printing-out  paper  is 
placed  in  the  frame  and  the  actinometer  is  placed 
beside  the  frame  containing  the  gum-bichromate 
paper.  When  the  paper  under  the  sixth  or  seventh 
strip  of  the  actinometer  has  printed  to  a deep  cherry 
a bichromate  print  from  an  ordinary  negative  will 
be  sufficiently  printed.  A few  trials,  at  least,  will 
determine  the  proper  depth  to  print.  When  you 
have  found  this  depth  the  negative  envelope  should 
he  marked,  say,  u Gum-Bichromate  6,”  and  if  at  any 
other  time  you  should  desire  to  make  a gum  print 
from  the  negative  you  can  strike  the  proper  expo- 
sure at  once  by  consulting  the  envelope.  The  ex- 
posure given  above  applies  to  paper  which  is  first 
sensitized  and  then  coated,  but  if  the  sensitizer  be 
mixed  with  the  gum  and  pigment,  then,  as  a rule,  a 
longer  exposure  will  be  necessary ; say  print  to 
number  ten  for  the  first  trial. 

It  will  be  readily  seen  that  the  length  of  exposure 
is  largely  governed  by  the  amount  of  sensitizer 
which  the  coating  contains.  It  is  therefore  wise  to 
always  use  a definite  proportion  of  sensitizer,  and  if 
the  colloided  pigment  requires  thinning,  to  do  it  with 
water  and  not  with  the  sensitizing  fluid.  The  same 


MODERN  PRINTING  PROCESSES. 


31 


is  true  of  the  gum  water.  Always  use  a definite 
proportion.  1 find  that  the  reds  and  browns  require 
a little  longer  exposure  than  other  colors,  not  even 
excepting  black.  The  thickness  of  the  coating  on 
the  paper  also  affects  the  length  of  the  exposure 
materially,  as  it  takes  much  longer  for  the  light  to 
penetrate  through  a thick  than  a thin  coating.  Be- 
fore proceeding  further  with  the  question  of  expo- 
sure I desire  to  explain  the  method  of  development, 
since  in  this  way  the  reader  will  better  understand 
what  is  required. 

The  development,  so-called,  is  not  truly  a devel- 
opment but  is  a washing-out  process,  since  the  water 
simply  removes  those  portions  of  the  pigment  which 
have  not  been  hardened  by  the  action  of  light.  The 
removal  of  this  unaffected  pigment  may  be  secured 
in  various  ways.  If  the  negative  is  perfectly  satis- 
factory and  you  wish  a print  similar  in  general 
details  to  an  ordinary  print  made  from  the  same  neg- 
ative, then  if  the  proper  exposure  be  given  the  print 
will  develop  out  entirely  in  ordinary  cool  water. 
The  print  is  placed  in  a tray  of  water  face  down- 
ward and  allowed  to  remain  for  ten  minutes.  At 
the  end  of  this  time  turn  it  over  carefully,  grasping 
the  paper  at  the  corners,  and  examine  the  face  of  it. 
If  the  exposure  was  a correct  one  you  will  generally 
find  that  a slight  image  is  visible,  that  is,  the  pig- 
ment that  lav  under  the  highlights  has  softened  and 


32 


MODERN  PRINTING  PROCESSES. 


run  away  in  the  water.  If  you  use  a mask  in 
printing  you  will  find  that  the  pigment  that  lay  under 
the  mask  shows  a tendency  to  soften  and  run  away. 
If,  on  the  other  hand,  there  appears  to  be  no  ten- 
dency to  soften,  then  turn  the  print  face  down  again 
and  allow  it  to  soak  for  another  ten  minutes.  Now 


Developing  the  Print. 

turn  it  face  up  and  again  examine.  If  it  shows 
any  signs  of  softening  at  the  edges  place  it  on  a 
piece  of  zinc  or  plate  glass,  hold  it  in  position  by 
means  of  a clip  and  gently  bathe  it  with  the  cold 
water  by  pouring  it  from  a graduate  or  other  vessel. 
Do  not  pour  the  water  directly  on  the  print  but  let 
it  strike  the  glass  above  the  paper  and  flow  over  the 
print  in  a gentle  stream.  This  will  usually  remove 


MODERN  PRINTING  PROCESSES. 


33 


the  greater  part  of  the  pigment  from  the  highlights 
and  half-tones  ; but  should  it  prove  a little  obstinate 
in  places  then  pour  the  water  directly  on  these 
places.  If  after  a print  has  soaked  for  a half  hour 
in  cold  water  there  is  no  sign  of  softening,  then  fill 
the  tray  with  warm  water  and  again  allow  it  to  soak. 
If  this  means  has  to  be  resorted  to  then  you  know 
that  it  has  been  over  printed  and  you  may  have  to 
soak  the  print  for  hours  or  perhaps  days.  If  you 
are  in  doubt  at  all  about  the  paper  or  the  pigment 
you  should  soak  a small  piece  of  the  pigmented 
paper  which  has  not  been  exposed  to  light.  At  the 
end  of  fifteen  minutes  soaking  the  pigment  should 
leave  the  paper  easily  upon  bathing  it  with  water. 
If  it  does  not,  then  the  trouble  may  be  that  there  is 
too  much  gum  in  your  coating  or  the  paper  was  not 
properly  sized,  or  the  gum  has  acidified,  and  in  the 
latter  case  it  should  be  tested  with  litmus  paper  and 
a few  drops  of  ammonia  added  to  it  to  make  it  neu- 
tral. Again,  you  may  find  that  the  coating  softens 
and  comes  away  easily  after  soaking  an  unexposed 
piece  of  the  paper,  and  that  after  exposing  under 
the  negative  it  does  the  same  thing,  but  no  image, 
or  only  a partial  image,  appears.  This  is  an  indica- 
tion that  your  coating  is  weak  in  sensitizer  if  a com- 
bined coating  is  used,  or  that  your  sensitizing  solu- 
tion was  weak  or  the  paper  not  soaked  in  it  long 
enough,  if  the  paper  be  sensitized  prior  to  coating. 


34 


MODERN  PRINTING  PROCESSES. 


If  the  edges  of  the  print  soften  after  coating  and 
the  highlights  appear  rapidly,  followed  almost  in- 
stantly hy  the  half-tones,  then  the  print  was  under- 
exposed, and  great  care  will  have  to  be  exercised  to 
prevent  the  water  from  washing  away  the  whole 
print.  If  slightly  over-printed  the  dish  containing 
the  print  can  be  rocked  back  and  forth  or  the  print 
drawn  through  the  water  if  the  tray  be  large  enough 
to  admit  of  it.  If  it  is  still  further  over-printed  the 
water  may  be  changed  to  warm,  say  85°,  and  the  pro- 
cess repeated  ; or  the  print  may  be  fastened  to  the 
glass  and  warm  water  poured  over  it  or  warm  water 
mixed  with  fine  boxwood  sawdust.  Thesawdustacts 
as  abrush  and  helps  to  remove  the  superfluous  pigment. 
In  very  obstinate  cases  the  blender  may  be  passed 
lightly  over  the  face  of  the  entire  print  while  wet, 
and  this  often  starts  the  coating  so  that  it  will  con- 
tinue to  dissolve  by  the  application  of  warm  water. 
If  this  fails  add  a small  quantity  of  ammonia  to  the 
wash  water  and  try  again. 

It  is  always  well  to  first  make  a print  from  the 
negative  on  ordinary  printing-out  paper,  as  this  print 
will  prove  useful  to  you  when  working  the  gum- 
bichromate  process.  It  will  show  you  just  where 
the  highlights  are  that  you  wish  to  work  on  and 
where  the  shadows  are  located  which  you  do  not 
want  to  disturb. 

Should  you  wish  to  modify  your  print  from  the 


Wmm 


From  a 
Gum  Print 


F.  K.  Lawrence* 


MODERN  PRINTING  PROCESSES. 


35 


results  you  would  get  from  a mechanically  developed 
print,  then  the  exposure  and  treatment  will  have 
to  be  somewhat  different.  The  exposure  in  such 
cases  should  be  longer  than  normal.  Over  expo- 
sure allows  manipulation  with  sawdust  and  brush, 
which  a normally  exposed  print  could  not  with- 
stand, and  such  a print  is  usually  softer  and  of  a 
different  grain.  To  modify  your  print  you  may 
first  pass  lightly  over  it  with  the  blender,  keeping 
it  well  covered  with  water.  Now  by  comparing  your 
solio  print  with  the  one  in  hand  you  can  locate  the 
highlights  of  your  picture  and  pay  special  attention 
to  them  either  by  means  of  the  sawdust  stream 
or  a soft  camels  hair  brush.  Having  worked  these 
out  to  your  satisfaction  you  next  give  your  atten- 
tion to  the  half-tones.  It  may  be  that  if  the  neg- 
ative is  a trifle  flat  you  may  wish  to  add  strength 
to  the  highlights,  and  this  may  be  effected  by  the 
use  of  a fine-pointed  camels  hair  brush,  which  when 
lightly  applied  to  the  parts  readily  loosens  up  the 
coating  and  it  flows  away.  Extreme  care  must  be 
exercised  at  this  kind  of  work  or  you  may  remove 
very  much  more  than  you  intended,  for  the  coating 
is  extremely  delicate  while  wet  and  the  least  touch 
severs  it  from  the  paper.  Demachy  uses  a coating 
of  glycerine  when  manipulating  prints  to  any  extent. 
The  glycerine  is  brushed  over  the  face  of  the  print 
and  acts  as  a cushion  to  prevent  the  individual  hairs 


36 


MODERN  PRINTING  PROCESSES. 


of  the  brush  leaving  marks  upon  the  face  of  the 
print. 

While  it  is  quite  possible  to  print  in  the  sky  from 
one  negative  and  the  foreground  from  another,  yet 
it  is  much  easier  to  get  your  sky  effect  by  manipula- 
tion. Should  your  negative  be  solid  black  in  the 
sky,  thus  protecting  the  coated  surface  of  the  paper 
so  that  the  coating  softens  and  runs  away  when 
soaking,  it  may  be  easily  obviated  by  sunning. 
Hold  a piece  of  card  or  black  paper  over  the  pre- 
viously printed  paper,  exposing  the  sky  portion  to 
the  action  of  the  sun  for  a few  moments,  and  the 
sky  will  then  be  printed  deep  enough  to  withstand 
considerable  friction  of  the  brush.  The  card  should 
not  be  held  stationary,  but  moved  up  and  down,  so 
that  there  will  be  no  harsh  line  at  the  horizon. 
Now  by  means  of  a broad  brush  you  can  easily 
work  in  a good  sky  effect.  In  order  to  determine 
the  horizon  line  on  the  print,  take  both  print  and 
negative  from  the  printing  frame  and  with  a lead 
pencil  make  marks  on  the  edges  of  the  print  at 
the  horizon  line.  In  sunning,  either  the  foreground 
must  be  covered  entirely  by  means  of  a card  or 
black  paper  or  else  a card  large  enough  to  cover 
the  entire  print  must  be  used,  for  otherwise  the  fore- 
ground would  be  set  by  the  action  of  the  light  and 
your  print  ruined. 

The  print  having  been  developed  to  your  satis- 


MODERN  PRINTING  PROCESSES. 


37 


faction  is  removed  from  the  tray  of  water  or  sheet 
of  glass,  as  the  case  may  be,  and  is  hung  up  in 
a clip  to  dry.  When  it  is  thoroughly  dry  it  is 
then  treated  to  a bath  of  bisulphate  of  soda  and 
water.  A five  per  cent  solution  has  been  found 
sufficiently  strong  for  the  purpose.  A two  per 
cent  solution  of  alum  or  a five  per  cent  solution  of 
hypo  may  also  be  used  for  fixing.  These  baths 
not  only  harden  the  pigment  but  dissolve  and  remove 
any  surplus  of  bichromate  that  may  remain,  and 
the  paper  comes  out  as  clean  as  before  treatment. 

If  the  dull  surface  is  satisfactory  then  your  print 
is  ready  to  mount,  but  it  may  be  brightened  up  and 
improved  greatly  by  spraying  it  with  a solution  such 
as  is  used  for  fixing  crayons,  pastel  and  charcoal 
drawings,  which  consists  of  one  dram  of  mastic 
varnish  to  six  drams  of  ninety  per  cent  alcohol. 
The  spraying  is  applied  by  meant  of  the  atomizer 
referred  to  for  coating  the  paper.  Before  fixing  and 
spraying,  however,  all  defects  should  be  touched  up 
in  the  following  manner  : 

Should  you  have  removed  by  accident  the  pig- 
ment from  any  part  of  the  print,  leaving  an  unde- 
sirable white  spot,  or  should  there  have  been  a hole 
in  the  negative,  printing  in  a dark  spot  which  you 
have  intentionally  removed,  then  these  spots  can  be 
filled  in  by  mixing  up  a little  of  the  color  with  the 
bichromate  and  gum  solution  to  the  proper  shade 


38 


MODERN  PRINTING  PROCESSES. 


and  applying  it  with  a small  brush.  In  fact,  a solid 
background  of  an  entirely  different  color  can  be 
painted  in.  The  print  must  then  be  exposed  to  the 
light  for  a few  minutes  in  order  to  harden  the  pig- 
ment, washed  slightly  and  then  fixed.  Another 
method  is  to  spot  after  fixing  and  washing  and  be- 
fore spraying.  This  is  done  with  the  water  color, 
mixed  with  water  only,  to  the  proper  shade,  the 
spraying  compound  being  relied  upon  to  hold  it 
securely  in  place. 

Highlights  and  halftones  may  be  strengthened  by 
the  judicious  use  of  a rubber  eraser.  The  rubber 
should  be  pared  to  a point  and  the  work  done  on  the 
dry  print  prior  to  fixing  and  spraying. 

Prof.  R.  Namias,  after  a long  series  of  experi- 
ments, has  worked  out  a very  ingenious  method  of 
securing  various  colored  images  on  a bichromated 
sheet  without  the  aid  of  a pigment.  The  process  is 
based  on  the  fact  that  bichromated  gelatine  loses  the 
property  of  absorbing  certain  saline  solutions  after 
exposure  to  light  for  a certain  length  of  time.  The 
paper  is  first  coated  with  insoluble  gelatine  and  when 
this  is  dry  is  coated  with  gelatine  sensitized  with 
bichromate  of  potassium.  The  paper  is  exposed 
under  a negative  for,  say,  three  minutes  in  sunlight, 
and  is  then  washed  in  water  until  nearly  all  traces 
of  the  color  have  left  the  sheet.  It  is  then  soaked 
for  fifteen  minutes  in  the  First  Saline  Solution,  and 


MODERN  PRINTING  PROCESSES. 


39 


FIRST  SOLUTION. 

SECOND  SOLUTION. 

COLOR 

PRODUCED. 

Chloride  of  Barium. 

Sulphate  of  Soda. 

White. 

Nitrate  of  Uranium. 

Ferrocyanide  of  Potassium. 

Dark  Red. 

Sulphate  of  Copper. 

Ferrocyanide  of  potassium. 

Light  Red. 

Chloride  of  Iron. 

Ferrocyanide  of  Potassium. 

Blue. 

Chloride  of  Cadmium. 

Sulphide  of  Soda. 

Yellow. 

Acetate  of  Lead. 

Sulphide  of  Soda. 

Black. 

without  washing  it  is  placed  in  the  Second  Solution, 
which  reacts  on  the  first  and  causes  a colored  pre- 
cipitate. A five  to  ten  per  cent  solution  of  the  salts 
is  found  to  be  the  best. 


Printing  and  Toning  Platinotype  Papers* 


Platinotype  papers  are  of  two  types,  those  which 
yield  a full  and  those  which  yield  a partial  image. 
Etching  Matte  belongs  to  the  former  type  while 
Willis  & Clements’,  Bradley’s,  Millen  & Wallace’s 
and  the  Western  belong  to  the  latter.  Those  papers 
which  yield  a partial  image  are  known  as  develop- 
ing papers,  and  while  there  are  two  kinds,  the  hot 
and  the  cold  developing,  yet  the  hot  developing  vari- 
ety is  so  little  handled  in  this  country  that  we  shall 
devote  our  entire  attention  to  the  cold  developing  type. 

The  advantages  of  platinotype  papers  are  many. 
A print  when  properly  toned  is  absolutely  perma- 
nent ; the  various  surfaces  of  stock  make  it  applicable 
to  any  variety  of  negative,  and  its  capability  of  be- 
ing modified  in  development  allows  the  worker  to 
put  into  the  print  those  little  individualities  so  much 
to  be  desired.  With  a thorough  knowledge  of  the 
subject  a great  variety  of  prints  may  be  made  from 
the  same  negative.  An  almost  endless  variety  of 
tones  can  be  secured,  ranging  from  black,  through 
the  browns  and  sepias  to  red.  Green  and  blue  tones 
in  whole  or  in  part  may  also  be  secured  by  manipu- 
lation. 


41 


42 


MODERN  PRINTING  PROCESSES. 


Platinotype  papers  are  usually  made  in  “ Thin 
Smooth,”  “Heavy  Smooth”  and  “Heavy  Rough.” 
Select  the  paper  which  is  most  appropriate  to  the 
nega  ive  in  hand.  These  papers  are  very  suscepti- 
ble to  dampness  and  are  therefore  to  be  kept  in  a 
cool  but  dry  place.  The  printing  frames  should  be 
thoroughly  dried  in  front  of  a fire  or  in  the  sun  be- 
fore using,  especially  if  they  be  stored  in  a dark 
room  which  is  located  in  a damp  place  like  a base- 
ment. A few  soft  blotters  should  be  cut  to  the  size 
of  the  negative  and  at  least  two  blotters  should  be 
laid  upon  the  back  of  the  paper  before  putting  the 
back  of  the  frame  into  position.  The  blotters  will 
have  a tendency  to  absorb  any  excess  of  moisture, 
and  where  the  heavy  rough  papers  are  used  will  also 
be  useful  in  bringing  the  paper  into  close  contact 
with  the  negative. 

The  paper  before  exposure  is  of  a lemon  color  and 
the  fully-printed  image  is  brownish-gray.  The  ac- 
companying illustration  will  give  a good  idea  of  the 
appearance  of  a print  before  and  after  development. 
Among  beginners  there  is  a tendency  to  over  rather 
than  under  print.  It  will  be  well  for  the  beginner 
to  experiment  a little  by  tearing  a sheet  into  three 
or  four  strips  and  developing  these  strips  as  soon  as 
printed.  He  will  very  soon  learn  the  proper  depth 
to  which  printing  should  be  carried.  Where  the 
printed  sheet  before  developing  shows  a smudge  or 


Appearance  of  a platinotype  print  before  development. 


Appearance  of  a platinotype  print  after  development. 


MODERN  PRINTING  PROCESSES. 


45 


smear  in  the  solids  or  shadows  it  is  an  indication  of 
over-printing.  Most  papers  come  in  tin  tubes,  and 
in  the  center  will  be  found  a piece  of  calcium  chlo- 
ride wrapped  in  paper.  As  fast  as  the  prints  are 
made  they  should  be  returned  to  the  tube,  where 
they  will  be  kept  dry  until  ready  to  develop.  It  is 
advisable  to  develop  as  soon  as  you  are  through 
printing  a batch,  or  if  you  are  not  certain  of  your 
exposures  it  is  perhaps  better  to  develop  one  or  two 
at  a time  as  fast  as  printed. 

While  the  printing  can  be  done  in  the  sun  and  it 
is  quite  convenient  to  do  so  in  the  winter  when  the 
light  is  inclined  to  be  weak,  yet  printing  carried  on 
in  the  shade  gives  prints  which  are  more  contrasty 
and  snappy  than  those  printed  directly  in  the  sun- 
light. As  a rule,  weak,  thin  negatives  will  give  bet- 
ter prints  if  a piece  of  blue  glass  be  placed  in  front 
of  the  negative.  This  blue  glass  should  not  be 
inserted  in  the  printing  frame  but  held  in  front  of 
the  negative,  say  two  inches,  for  if  placed  directly 
against  the  negative  any  imperfections  in  the  glass, 
such  as  bubbles,  will  show  clearly  on  the  print.  The 
blue  glass  can  be  supported  by  placing  it  in  a slit 
made  in  a small  piece  of  board.  A piece  of  one 
inch  pine  board  six  inches  wide  and  twelve  inches 
long  will  prove  handy.  At  one  end  of  the  board 
several  slits  should  be  made  by  means  of  a saw,  the 
slits  being  at  various  angles,  so  the  blue  glass  may 


46 


MODERN  PRINTING  PROCESSES. 


face  the  sun  at  almost  any  time  of  day  at  which  you 
may  be  printing  during  the  winter.  If  used  in  the 
shade  it  will  not  matter  what  angle  the  blue  glass  is 
placed,  providing  the  printing  frame  back  of  it  is 
at  the  same  angle. 

Where  a number  of  prints  are  to  be  made  from 
one  negative  uniformity  of  results  is  desirable,  and 
in  such  a case  it  would  be  better  to  print  by  the  aid 
of  an  actinometer  as  in  gum-bichromate  printing. 
Where  single  prints  are  made  from  a negative  it  will 
be  found  much  easier  to  dispense  with  the  actinome- 
ter and  rely  on  your  judgment  and  the  appearance 
of  the  printed  paper  in  the  frame. 

While  the  depth  of  printing  has  much  to  do  with 
the  appearance  of  the  finished  print,  yet  develop- 
ment is  the  important  point  of  the  process,  and  it  is 
here  that  the  individuality  of  the  worker  comes  into 
play.  The  different  manufacturers  supply  develop- 
ing salts  to  be  used  with  their  paper,  but  as  a rule 
workers  use  a developer  consisting  of  oxalate  of 
potash  and  water.  A saturated  solution  is  made  by 
dissolving  one  ounce  of  pure  oxalate  of  potash  in 
three  ounces  of  distilled  water.  As  the  oxolate  dis- 
solves very  slowly  it  is  better  to  make  up  a stock 
solution  and  keep  it  in  a glass  stoppered  bottle  rather 
than  to  make  up  fresh  developer  each  time  you 
print.  This  bottle  should  be  labeled  u Stock  Solu- 
tion Oxalate.” 


MODERN  PRINTING  PROCESSES* 


47 


Ordinarily  this  solution  is  diluted  more  or  less, 
according  as  the  print  to  be  developed  is  over  or 
under  printed  or  the  proper  exposure  given.  A 
much  better  method  of  working,  however,  is  to  have 
a developing  bath  which  is  fitted  for  an  over-exposed 
print,  develop  the  whole  print  in  it  and  then  bring 
up  the  weaker  portions  or  the  whole  print,  if  neces- 
sary, in  a stronger  solution,  which  is  kept  in  a cup, 
and  applied  by  means  of  a camels  hair  brush.  The 
method  will  save  many  prints  which  would  other- 
wise develop  so  rapidly  that  the  operator  loses  all 
control  over  them  and  they  are  over-developed  be- 
fore they  can  be  placed  in  the  clearing  solution. 
This  treatment  will  not,  however,  save  a grossly 
over-exposed  print,  one  which  has  been  allowed  to 
print  until  muddy  streaks  appear  in  the  shadows. 
These  patches  are  known  as  “ bronzing,”  not  that 
they  bronze,  but  because  the  prints  are  on  a par, 
as  regards  depth  of  printing,  with  a printing-out 
paper  which  has  been  carried  so  far  that  the  shad- 
ows bronze. 

To  prepare  for  developing  it  is  necessary  to  have 
a glass  or  rubber  tray  somewhat  larger  than  the 
prints,  a piece  of  plate  glass  of  the  size  of  the  print 
or  larger,  a cup  and  two  small  brushes,  camels  hair 
or  sable,  one  a half  inch  and  the  other  a pencil  brush. 
Mix  the  following  solution  for  the  tray  : 


48 


MODERN  PRINTING  PROCESSES. 


Stock  Solution  Oxalate i oz. 

Water 2 oz. 

Glycerine,  pure 1 oz. 


The  glycerine  should  be  pure,  otherwise  there  is 
a liability  to  stain  and  produce  granular  prints.  In 
the  cup  place 


Stock  Solution  Oxalate y2  oz. 

Water 1 oz. 


Place  the  print  in  the  tray  or  draw  it  through  the 
solution  once  or  twice,  being  careful  to  break  any 
air  bells  that  may  form,  and  hold  it  on  the  hand  and 
watch  development.  The  print  will  develop  slowly 
and  evenly  and  you  will  have  plenty  of  time  to  note 
whether  there  are  any  weak  spots  that  do  not  come 
up  as  strongly  as  the  other  portions.  If  you  find 
such,  or  if  the  entire  print  is  somewhat  weak,  then 
place  it  upon  the  piece  of  plate  glass  and  apply  the 
stronger  developer  in  the  cup,  either  locally  or  over 
the  entire  surface,  as  the  case  would  seem  to  demand. 
For  local  treatment  use  the  small  brush  and  for  the 
whole  print  the  larger  brush.  If  the  print  appears 
to  be  under  exposed  and  does  not  respond  to  this 
treatment,  then  it  may  be  held  before  the  fire,  oil  or 
gas  stove,  or  even  gas  flame,  and  moved  two  and  fro, 
so  that  the  entire  surface  is  heated.  Under  this 
action  a decided  change  will  take  place  and  the  print 
should  be  watched  carefully,  and  when  the  develop- 


MODERN  PRINTING  PROCESSES. 


49 


ment  has  reached  the  proper  stage  should  be  im- 
mediately plunged  in  the  clearing  bath. 

Thecxalate  formula  given  produces  normal  black 
tones,  but  where  more  decided  or  intense  black  tones 
are  wanted  the  following  stock  solution  may  be  pre- 
pared ; 


Oxalate  of  Potash i Part. 

Potassium  Phosphate % Part. 

Water 9 Parts. 


Label  the  bottle  “ Intense  Black  Stock  Solution 
Oxalate.”  To  use  take 


Intense  Black  Solution 1 oz. 

Water 1 oz. 

Glycerine 1 oz. 


The  potassium  phosphate  is  somewhat  hard  to 
secure  in  a pure  state  and  sodium  phosphate  is  used 
in  its  stead,  but  the  potassium  is  to  be  preferred. 
After  using  these  developers  once  they  may  be  saved 
and  placed  in  glass  stoppered  bottles  marked  “Old 
Platinum  Developer,”  but  as  their  action  is  uncer- 
tain after  being  kept  for  any  length  of  time,  and  as 
the  ingredients  are  cheap,  it  will  be  much  more  eco- 
nomical to  throw  them  away  after  use  and  start  with 
new  developer,  especially  where  considerable  length 
of  time  elapses  between  developments.  Before 
taking  up  the  other  methods  of  development  it  is 
well  to  consider  the  fixing  baths. 


5° 


MODERN  PRINTING  PROCESSES. 


The  fixing  and  clearing  of  the  print  is  performed 
in  one  operation,  and  the  bath  consists  of 


Pure  Muriatic  Acid i oz. 

Water 60  ozs. 


The  ordinary  commercial  acid  is  very  liable  to  pro- 
duce yellow  prints  and  the  pure  acid  only  should  be 
used.  Three  or  even  four  enameled  iron  pans  should 
be  used  and  as  many  baths  made  up.  The  fully 
developed  print  is  placed  in  the  first  bath,  and  after 
remaining  for  ten  minutes  is  passed  to  the  second, 
where  it  remains  for  the  same  length  of  time,  and 
and  then  to  the  third,  etc.  The  baths  should  be 
rocked  or  the  prints  moved  around  in  them  so  that 
the  acidulated  water  has  full  access  to  each  print. 
These  baths  should  be  examined  from  time  to  time, 
especially  if  a large  number  of  prints  are  being  de- 
veloped, and  as  soon  as  they  begin  to  show  a yellow 
tinge  they  should  be  thrown  away  and  a new  bath 
prepared.  The  first  tray  usually  shows  the  color 
first,  it  being  the  iron  which  is  washed  out  of  the 
coating.  The  prints  begin  to  lose  their  yellow  color 
soon  after  placing  them  in  the  bath  and  the  white 
paper  appears.  Should  baths  charged  with  iron 
be  continued  the  prints  will  be  liable  to  be  charged, 
and  the  result  will  be  a disagreeable  color  and  lia- 
bility to  fade.  After  passing  through  the  clearing 
baths  the  prints  should  be  washed  for  at  least  twenty 
minutes,  and  a longer  washing  will  do  no  harm. 


MODERN  PRINTING  PROCESSES. 


51 


It  often  happens  that  a print  is  weak  and  intensi- 
fication is  desirable.  This  may  be  accomplished  in 
a number  of  ways,  but  the  following  are  the  most 
reliable.  Make  up  two  solutions  as  follows  : 

NT  ( Sodium  Formate 50  grs. 

JNa  Im  l Water 1 oz. 

xj  ( Platinum  Perchloride. ..  10  grs. 

iN0-  2>  l Water 1 oz. 

To  2 ounces  of  pure  water  add  15  minums  of  No. 
i and  15  minums  of  No.  2.  The  print  is  to  be  soaked 
in  the  solution  from  fifteen  to  forty-five  minutes,  de- 
pending on  the  amount  of  intensification  required. 
It  is  then  washed  for  a half  hour  and  dried.  The 
print  should  be  intensified  as  soon  as  washed,  but 
dried  prints  may  be  intensified  if  not  too  old  by  pre- 
viously soaking  in  cold  water  for  fifteen  minutes. 

Dolland’s  method  of  intensifying  platinum  prints 
is  to  prepare  the  following  solutions  : 


M \ Gold  Chi  ride. 
W0,  T*  l Water 


15  grs. 
7%  drs. 


No.  2. 


5 


Pure  Glycerine 


q.  s. 


( Sodium  Sulphite 1 oz. 

No.  3.  j Water  to 10  oz. 

( Metol 50  grs. 


Mn  a S Potassium  Carbonate 1 oz. 

N 4<  l Water  to 10  oz. 


The  print  to  be  intensified  is  soaked  in  water  for  a 
few  minutes,  placed  on  a sheet  of  plate  glass  and  then 


52 


MODERN  PRINTING  PROCESSES. 


coated  with  the  glycerine  by  means  of  a brush. 
Solution  No.  i is  neutralized  with  a little  chalk  or 
carbonate  of  soda,  and  then  one  drop  of  muriatic 
acid  is  added.  This  solution  is  then  applied  to  the 
face  of  the  print  by  means  of  a broad  camel’s  hair 
brush.  The  face  of  the  print  must  be  entirely  cov- 
ered with  the  solution  and  the  brush  kept  in  motion 
so  that  the  gold  solution  covers  every  part  thoroughly. 
The  print  will  gradually  darken,  and  when  the 
proper  color  has  been  reached  it  should  be  slightly 
washed  and  then  brushed,  both  on  the  face  and  on 
the  back,  with  equal  parts  of  solutions  Nos.  3 and  4 
mixed.  The  operation  is  completed  by  washing  the 
print  in  running  water  for  thirty  minutes. 

There  is  no  reliable  method  of  reducing  black 
platinum  prints,  and  for  this  reason  the  worker 
should  be  careful  not  to  over-print.  However,  in 
spite  of  all  precautions  over-printing  and  over-devel- 
oping will  occasionally  occur,  and  such  prints  should 
not  be  thrown  away,  for  although  we  cannot  reduce 
them  in  the  form  of  black  prints,  still  we  can  change 
their  color  to  sepia  and  then  reduce  them.  This 
will  be  fully  explained  later  on. 

There  is  another  method  of  developing  platino- 
types  which  will  appeal  very  strongly  to  those  who 
wish  to  individualize  their  work  or  who  wish  to 
make  changes  in  the  print.  This  is  known  as  Local 
Development  with  Glycerine.  We  have  learned 


MODERN  PRINTING  PROCESSES. 


53 


that  glycerine  has  a retarding  action  upon  develop- 
ment, and  this  fact  is  taken  advantage  of  in  this 
process  to  a considerable  extent.  The  print  to  be 
manipulated  is  placed  upon  a sheet  of  plate  glass 
which  has  previously  been  brushed  with  glycerine. 
The  face  of  the  print  is  now  covered  thoroughly 
with  a coat  of  glycerine  by  pouring  it  upon  the 
paper  and  spreading  with  the  brush.  Allow  the 
glycerine  to  soak  in  for  some  minutes  while  you  are 
preparing  the  developer.  The  printing  should  be 
a trifle  deeper  than  for  ordinary  development.  Four 
small  cups  or  other  vessels  should  be  provided,  and 
aside  from  the  large  brush  used  for  spreading  the 
glycerine  at  least  two  others  will  be  required,  one, 
say  a quarter  inch  in  diameter  and  the  other  a fine 
pointed  brush  such  as  is  used  for  spotting  out.  In 
the  cups  place  the  following  ingredients  : 

First  Cup Pure  Glycerine. 

( Glycerine i Part. 

Second  Cup.  ■]  Stock  Solution  Oxalate. . i Part. 

( Water 3 Parts. 

(Glycerine 1 Part. 

Third  Cup.  < Stock  Solution  Oxalate.  .2  Parts. 

( Water 2 Parts. 

( Glycerine 1 Part. 

Fourth  Cup.  1 Stock  Solution  Oxalate.  .2  parts. 

(Water 1 Part. 

A number  of  small  squares  of  blotter  will  be  very 
necessary,  for  with  them  you  can  take  up  the  sur- 


54 


MODERN  PRINTING  PROCESSES. 


plus  developer  and  thus  stop  development  at  any 
point  you  wish.  This  will  be  more  fully  explained 
later  on. 

Now  suppose  you  have  a portrait  of  a child,  a 
head,  and  you  wish  to  eliminate  the  background 
entirely  and  vignette  away  the  body  just  below  the 
shoulders,  as  shown  in  the  illustration  on  the  oppo- 
site page.  It  is  desirable  that  you  have  a silver  or 
other  print  made  from  the  same  negative  at  hand  in 
order  that  you  may  determine  just  what  portions 
you  will  cut  out  and  just  how  you  will  manipulate 
the  balance  of  the  print.  Examine  the  print  which 
has  been  covered  with  glycerine  and  with  a small 
piece  of  blotter  dry  the  surface  of  those  portions 
which  you  propose  to  work  upon  and  cover  with  a 
good  coat  of  glycerine  the  parts  to  be  eliminated. 
Dip  a brush  in  the  second  cup,  and  after  squeezing 
out  the  surplus  developer  with  the  fingers  apply  it 
to  those  portions  of  the  picture  which  it  is  desired 
to  bring  up  first,  say  the  delicate  half-tones  of  the 
face.  When  the  proper  stage  of  development  has 
been  reached  blot  up  the  developer  on  that  part  and 
with  the  glycerine  brush  cover  it  with  a light  coat- 
ing of  glycerine.  The  fact  that  the  developer  re- 
maining on  the  surface  has  been  removed  by  the 
blotter  and  the  glycerine  of  itself  is  a restrainer,  retards 
all,  or  nearly  all,  development  in  this  particular  spot 
and  you  can  now  develop  up  the  other  portions  of  the 


From  a 
Platinotype 


An  Example  of  Local  Development  with  Brush  and  the  use 
of  Mercury  for  securing  Flesh  Tints. 


From  a By 

Platinoty^e  W.  3.  Dyer. 

An  Example  of  Regular  Toning  in^Platinotype.  By  comparing 
this  with  the  figure  on  the  other  side  you  will  see  how  the  print 
was  manipulated  to  cut  out  background  and  dress. 


MODERN  PRINTING  PROCESSES. 


57 


picture.  The  developer  in  the  third  cup  would 
naturally  be  used  for  the  lesser  shadows  and  that  in 
the  fourth  cup  for  the  more  substantial  ones.  You 
will  note  that  where  you  draw  the  brush  the  print 
developes  up,  and  if  the  surplus  developer  has  been 
removed  from  the  brush  you  can  confine  the  devel- 
opment very  readily  to  the  certain  portions  you  are 
working  on.  This  being  the  case,  you  can  if  you 
desire  produce  a print  which  strongly  resembles  a 
black  and  white  water  color  or  wash  drawing. 

Another  method  is  to  blot  off  the  glycerine  from 
all  portions  which  you  wish  to  develop  up,  apply 
the  weak  developer  in  the  second  cup  to  all  these 
portions  and  then  bring  up  the  lesser  and  greater 
shadows  by  applying  the  developer  in  cups  three 
and  four.  This  method,  on  the  whole,  is  the  better 
for  the  worker  who  has  had  no  experience  in  the 
glycerine  method  of  development,  as  there  is  less 
danger  of  leaving  undeveloped  or  partly  developed 
portions  where  one  development  ended  and  the  other 
began.  Such  streaks  are  ruinous  to  a print,  and  it 
is  very  difficult,  if  not  impossible,  to  bring  up  these 
portions  separately  to  the  required  tone.  The  worker 
will  get  a very  good  idea  of  the  possibilities  of  this 
method  if  he  will  take  a small  negative  or  use  a por- 
tion of  a large  one  and  make,  say,  three  prints  from 
it  and  then  proceed  to  develop  them  as  above  out- 
lined. He  will  probably  find  that  he  has  three  en- 


58 


MODERN  PRINTING  PROCESSES. 


tirely  different  pictures,  so  different  that  at  a glance 
they  would  seem  to  have  been  made  from  three  dif- 
ferent negatives. 

Very  beautiful  effects  both  in  landscapes  and  por- 
traits may  be  secured  by  what  is  known  as  double 
toning,  i.  e .,  toning  portions  of  the  print  a flesh  or 
sepia  color  and  the  balance  toned  black,  as  in  the  illus- 
tration on  page  53.  This  double  toning  may  be 
effected  in  various  ways  by  the  use  of  bichloride 
and  chloride  of  mercury.  The  mercury  solution 
is  to  consist  of  either  chloride  or  bichloride  of  mer- 
cury, 1 part  to  20  parts  of  water.  A Stock  Solution 
of  Mercury  Developer  is  made  as  follows  : 


Mercury  Solution  (1  to  20) 1 oz. 

Stock  Solution  Oxalate  (1  to  3) 8 oz. 


For  this  process  the  following  will  be  required  : 
Four  small  cups,  three  or  four  brushes  of  various 
sizes,  depending  on  the  nature  of  the  work  in  hand, 
and  some  small  pieces  of  soft  blotting  paper.  The 
cups  are  used  as  follows  : 


Cup  No.  1 Glycerine. 

(Glycerine 1 part. 

Cup  No.  2.  ■]  Mercury  Developer 1 part. 

( Water 3 parts. 

Cup  No.  3.  ■]  Mercury  Developer 2 parts. 

. ( Glycerine.  1 part. 

Cup  No.  4 \ Mercury  Developer 2 parts. 

( Water  .* 1 part. 


MODERN  PRINTING  PROCESSES. 


59 


The  solution  in  cup  No.  4 might  be  called  a nor- 
mal developer,  as  it  is  the  one  which  is  used  the  most. 
The  platinotype  paper  is  printed  a little  deeper  than 
for  ordinary  black  tones.  A silver  print  is  made  for 
comparison  and  the  platinum  print  laid  on  glass  and 
covered  with  glycerine  as  in  the  previous  method. 
Take  for  example  the  head  and  shoulders  of  the 
a child,  as  shown  on  page  53.  The  glycerine  is 
blotted  away  from  those  portions  of  the  face  which 
you  wish  to  have  appear  with  a flesh  tone.  A 
brush  is  dipped  in  cup  No.  2 and  the  surplus 
developer  removed  from  the  brush  by  passing  it 
through  the  fingers.  It  will  be  advisable  to  use 
rubber  finger  tips,  for  the  mercury  is  poisonous, 
and  while  it  will  not  affect  some  persons’  fingers  in 
other  cases  it  attacks  the  skin  and  causes  considerable 
annoyance.  The  same  is  true  of  uranium  baths, 
which  will  be  described  later  on.  The  brush  being 
freed  from  the  surplus  developer  is  passed  lightly 
over  the  face  back  and  forth,  covering  the  surface 
thoroughly  without  allowing  the  developer  to  flow  be- 
yond the  portions  which  you  wish  tinted.  The  image 
will  come  up  gradually,  and  when  it  has  reached  the 
desired  tone  should  be  blotted  off  with  a piece  of 
clean  blotter  and  the  parts  covered  with  glycerine. 
You  can  now  examine  your  print  and  determine 
what  the  balance  of  the  treatment  shall  be.  The 
operation  should,  of  course,  be  carried  on  in  a weak 


6o 


MODERN  PRINTING  PROCESSES. 


light  or  by  gaslight,  the  same  as  in  developing  the 
black  image. 

The  balance  of  the  picture,  if  to  be  black,  can  be 
toned  in  two  ways.  The  print  can  be  placed  directly 
in  a tray  containing  the  regular  oxalate  or  intense 
black  solution  as  preferred,  or  the  black  development 
may  be  brought  up  by  means  of  the  brush,  as  in 
Local  Development,  eliminating  those  details  which 
are  objectionable.  The  operator  must  be  careful  to 
throw  away  the  blotters  as  fast  as  they  have  been 
used,  otherwise,  if  used  a second  time  the  mercury 
developer  may  be  transferred  to  the  black  surface 
and  leave  an  ugly  stain.  The  brushes  used  for  mer- 
cury development  should  never  be  used  for  the  black 
solutions,  and  should  be  marked  so  no  mistake  of 
this  kind  will  happen.  The  cups,  too,  should  be 
thoroughly  washed  in  boiling  water  after  use.  If 
the  print  be  transferred  to  the  oxalate  solution  the 
black  image  will  appear  on  every  portion  of  the 
print  except  that  which  has  been  developed  with  the 
mercury,  and  the  result  will  be  a print  in  two  tones 
or  colors.  The  strong  acid  baths  will  affect  the 
mercury  toning  more  or  less  and  it  is  advisable  to 
use  a clearing  bath  consisting  of 


Muriatic  Acid i oz. 

Water 200  oz. 


In  these  baths  the  prints  can  remain  the  ordi- 


MODERN  PRINTING  PROCESSES. 


6 1 


nary  length  of -time,  say  ten  minutes  each,  and  are 
thus  thoroughly  washed. 

Should  your  mercury  tone  be  too  light  after  clear- 
ing and  washing,  it  can  be  readily  changed  or  intensi- 
fied by  placing  the  print  in  a bath  of  uranium  made 
as  follows  : 


Uranium  Nitrate,  10  percent  solution i dr. 

Ferricyanide  of  Potassium,  io  per  c nt  solution .. . i dr. 

Water 6 oz. 

Acetic  Acid 20  drops. 

Note,  that  in  using  mercury  the  tone  is  gov- 


erned by  the  amount  of  mercury  in  the  solution  and 
not  by  the  length  of  time  the  print  is  acted  upon. 
The  tone  can  therefore  be  changed,  within  certain 
prescribed  limits,  by  using  more  or  less  mercury. 
With  the  oxalate  developer  the  tone  depends  on  two 
factors,  the  strength  of  the  developer  and  length  of 
development.  With  the  uranium  developer  the  tone 
darkens  according  to  the  length  of  development. 
Should  the  uranium  toning  be  too  deep  to  suit  you 
it  can  easily  be  reduced  by  applying  a weak  solution 
of  carbonate  of  soda  to  the  print  by  means  of  a tuft 
of  cotton.  After  this  reduction  has  reached  the 
proper  stage  place  the  print  in  water  at  once  to  stop 
the  reduction. 

Let  us  now  consider  some  methods  of  producing 
sepia,  brown  and  other  colored  effects  on  black 
platinotype  papers.  While  a special  paper  can  be 


62 


MODERN  PRINTING  PROCESSES. 


purchased  which  will  produce  sepia  tones,  yet  this 
paper  produces  only  these  tones,  and  by  the  methods 
to  be  described  the  worker  can  produce  almost  any 
shade  or  tone  at  will,  and  if  the  shade  is  not  satis- 
factory it  can  be  intensified  or  reduced,  within  cer- 
tain limits,  to  the  desired  tone.  The  most  common 
method  of  toning  to  sepia  is  the  following  : The 

paper  is  printed  to  the  usual  tone  under  rather  than 
over  printing  being  favored.  This  print  is  then 
developed  in  the  regular  oxalate  developer  and  the 
result  is  a black  print.  After  clearing  and  washing 
the  print  is  then  placed  in  a bath  composed  of 


Uranium  Nitrate  (10  per  cent  solution) % oz. 

Ferricyanide  of  Potassium  (io  percent  solution) Yz  oz. 

Water 20  oz. 

Acetic  Acid 1 dram. 


This  solution  does  not  work  quickly  unless  heated, 
and  it  is  therefore  advisable  to  place  the  pan  con- 
taining the  solution,  which  should  be  of  agate  ware, 
in  another  pan  containing  water  and  heated  by  gas 
or  oil  flame.  If  a water  bath  is  not  used  there  is 
danger  of  the  prints,  unless  constantly  stirred,  settling 
to  the  bottom  of  the  pan,  when  an  ugly  brown  stain 
will  be  the  result.  With  a cold  solution  ti  may  take 
from  one  to  three  hours  to  tone  the  prints,  while 
with  the  hot  solution  they  will  tone  in  from  twenty 
to  forty-five  minutes.  Not  only  can  freshly  made 
prints  be  toned  in  this  way,  but  prints  that  have 


MODERN  PRINTING  PROCESSES. 


63 


been  made  for  several  months  will  tone  equally  well. 
Clear  in  a bath  of  acetic  acid  1 dram,  water  3 ounces 
and  wash  for  five  minutes.  Another  method  is  to 
prepare  a developing  bath  consisting  of 


Stock  Solution  Oxalate  (1  to  3) 1 oz. 

Glycerine . 1 oz. 

Mercury  Solution  (1  to  20) 3 drams. 

Water 2 oz. 


Draw  the  print  through  this  developer  and  allow 
it  to  develop  up  in  the  usual  manner.  When  the 
tone  is  satisfactory  clear  in  an  acid  bath  1 to  200  and 
wash.  Should  this  bath  produce  a tone  lighter  in 
shade  than  desired,  then  the  bath  may  be  heated  to 
90°  or  ioo°  and  the  tone  will  rapidly  darken,  or  it 
it  may,  after  being  washed,  be  placed  in  the  uranium 
bath  above  mentioned,  when  it  will  gradually  inten- 
sify and  change  to  a darker  tone. 

Another  method,  which  produces  Bartolozzi  Red 
prints,  is  to  immerse  an  under  exposed  print  in  a 
bath  of 


Ammonium  Sulphocyanate 2 grains. 

Uranium  Nitrate 4 grains 

Ferricyanide  of  Potassium 4 grains. 

Water 4 oz. 


After  toning  to  the  desired  color  wash  for  fifteen 
minutes. 

The  following  is  said  to  produce  several  red  tones 


64 


MODERN  PRINTING  PROCESSES. 


depending  on  the  length  of  time  the  print  is  kept  in 
the  bath  : 


Ferricyanide  of  Potassium 6 grains 

Uranium  Nitrate 6 grains. 

Sulphate  of  Sodium 6 grains. 

Acetic  Acid 3 drams. 

Water 6 oz. 


The  print,  which  has  been  normally  exposed,  is 
first  developed  in  the  oxalate  solution,  cleared  and 
washed,  and  is  then  placed  in  the  solution,  when  it 
gradually  changes  to  a sepia,  then  a red  and  then  a 
deeper  red.  The  print  is  then  washed  for  fifteen 
minutes. 

Greenish  tones  can  be  given  to  platinotypes  by 
first  toning  black,  then  toning  in  the  uranium  bath 
described  and  without  washing,  take  from  the  ura- 
nium bath  and  place  in  a glass  tray  containing  the 
following  bath  : 


Perchloride  of  Iron 25  grains. 

Water 2 oz. 


The  sepia  tone  will  gradually  change  to  a light 
greenish-blue  and  then  darker.  When  it  has  reached 
the  desired  color  transfer  to  a 1 to  200  acid  bath  and 
wash  for  fifteen  minutes.  With  this  bath  very  beau- 
tiful effects  in  double  toning  may  be  secured,  and  it 
is  particularly  appropriate  for  river  and  lake  views. 
The  tones  can  be  applied  locally  with  a piece  of  cot- 


MODERN  PRINTING  PROCESSES. 


65 


ton  or  a brush  to  the  water,  leaving  the  balance  of 
the  picture  left  of  a sepia  tone.  Should  you  wish 
to  reduce  the  tone  to  a lighter  shade  you  can  readily 
do  so  by  applying  a weak  solution  of  carbonate  of 
soda  and  water  to  the  parts. 

A blue  tone  can  be  obtained  with  the  same  bath 
by  first  washing  the  black  print  in  the  perchloride 
of  iron  bath  for  a few  minutes  and  without  washing 
transfer  it  to  a tray  containing  the  uranium  tones. 
The  perchloride  will  have  no  visible  effect  upon  the 
black  print,  but  as  soon  as  it  is  placed  in  the  ura- 
nium bath  the  blue  tone  will  appear.  A very  effec- 
tive color  for  moonlight  effects  may  be  produced  by 
developing  a rather  strongly  printed  sheet  in  the 
following  : 

Stock  Solution  Oxalate  (1  to  3) 1 oz. 

Glycerine 2 oz 

Ferricyanide  of  Potassium  (10  per  cent  solution). ...  5 dram. 
Water 2 oz. 

This  developer  will  produce  a beautiful  tone  if 
applied  to  the  surface  of  the  paper  with  a piece  of 
cotton,  but  is  liable  to  be  streaky  if  the  print  is 
simply  rocked  in  it.  Another  bath  for  similar  effects 
is  made  up  as  follows  : 


Perchloride  of  Iron 

Potassium  Ferricyanide 
Water 


4 grams. 
2 grains. 
..  . .3  oz. 


66 


MODERN  PRINTING  PROCESSES. 


Dissolve  the  ferricyanide  in  two  ounces  of  the 
water  and  the  perchloride  in  the  other  ounce  and 
then  mix.  To  this  solution  add  four  drops  of  muri- 
atic acid.  This  solution  is  to  be  applied  to  black 
prints  and  is  very  effective  on  those  which  have  been 
over  exposed. 


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Flat  Camel’s  Hair  Brushes,  2-in.,  50c,;  2*4-in.,  60c.;  3-in.,  80  cts. 

Smoothing  Brushes,  Fitch,  2-in 40  cts. 

Round  Blenders,  each 75  cts. 

Flat  Blenders,  3-inch,  each 85  cts. 

The  Perfecto  Actinometer,  for  timing  Bichromate, Carbon 

and  Platinotype  papers 50  cts. 

Glycerine,  chemically  pure,  2 oz.  bottles 15  cts. 

Bichloride  Mercury,  per  oz 15  cts, 

Potassium  Ferricyanide  (red),  per  oz 15  cts. 

Potassium  Ferrocyanide  (yellow),  per  oz.  15  cts. 

Potassium  Oxalate,  neutral,  per  lb 30  cts. 

Potassium  Bichromate  c.p.,  per  oz.  5 c.,  per  lb 50  cts. 

Gum  Arabic,  pure,  in  tears,  per  oz.  5c.,  per  lb 70  cts. 

Uranium  Nitrate,  per  oz 60  cts. 

Sulphate  of  Copper,  per  oz 15  cts. 

Acetate  of  lead,  per  oz 15  cts. 

Ammonium  Bichromate,  c.p.,  per  oz 15  cts. 

Iron  Perchloride,  per  oz 5 cts. 

Thumb  Tacks,  per  dozen 15  cts. 


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Sepia. 

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Crims’n  L’ke,deep 
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Burnt  Umber. 
Indian  Red 
Postage  3 Cents 


Azure  Blue. 
Celestial  Blue. 
Paris  Blue. 

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cModern  Photography  in  Theory  and  Practice: 

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teur. By  Henry  G.  Abbott  250  pages,  j8  full 
page  half  tones  and  55  sma'ler  illustrations.  Bound 
in  Sea  Green  Cloth;  $r. 00;  In  Art  Paper  Covers,  75c. 

Progressive  Lessons  in  Photography: 

By  Henry  G.  Abbott.  A Hand  Book  for  the 
Novice,  taking  up  the  Rudimentary  Branches  of 
the  Art.  Cloth  Binding,  35c.;  Paper  Covers,  25c. 

The  A P C of  Retouching: 

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Practical  Enlarging: 

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' Developers ; Their  Use  and  Abuse: 

By  Richard  Penlake.  25c. 

Indoor  Photography: 

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The  Dark  Room  and  Its  Equipment: 

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Cloth,  25c. 

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137  Labels  Printed  in  Bold  Type.  Every  Label 
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